In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    Traces the life and career of the California artist, who currently works with pure light and the subtle modulation of empty space.

    This mystical adventure has such a huge cult following that when the film was recently re-released on video and DVD, it quickly sold a million copies. Just as remarkable is the cult status of The World of The Dark Crystal, Froud's book on the film. Originally published in 1982 and long out of print, this definitive volume--packed with brilliant artwork--has been in such demand that used copies can sell for well over $400. Abrams is now proudly reissuing this sought-after book in a brand new collector's edition. This beautifully printed reproduction of the original volume contains all of its stunning art and text--plus a new essay by Froud, illustrated with never-before-published paintings, drawings, and sculptures from the film's archives. And this new edition features a facsimile of a 20-page booklet Froud and Henson created to present the film to backers--a gorgeous overview of the story so rare only a few copies are known to exist. This collector's edition of The World of The Dark Crystal, like the re-released film, will truly be a must-have for Henson and Froud fans.

    “Surprisingly comprehensive.”—The New York Times. “A gem of a handbook.”—Whole Earth Catalog. “No metalsmith or jewelry maker is ‘complete’ without this easy-to-use resource.” —Lapidary Journal.

    This book contains previously unpublished work that has never been exhibited.

    Pop-up illustrations and verses divulge how, one by one, six members of the MacFizzet family monstrously disappear during a visit to Hickyacket Hall, leaving behind only young Neville, who expects "it was all for the best."

    Vale brought together the work of groundbreaking novelist William Burroughs and avant-garde painter Brion Gysin (already linked by their collaborations in the “cut-up” method of artistic creation) with the founders of industrial music, Throbbing Gristle, for this seminal document of ‘80s underground culture. Originally published in 1982, the book combined “primary source interviews,” in which subjects discuss advanced ideas involving the social control process, creativity, and the future; scarce essays; rare fiction excerpts; bibliographies; discographies; and biographies. The book quickly became a celebrated addition to RE/Search’s notorious list and to the canon of ‘80s subculture. This expanded edition contains previously unpublished interviews with Burroughs, Gysin, and Throbbing Gristle by V. Vale; a new article on Throbbing Gristle with photographs; unseen photographs of Burroughs; and much more to satisfy both the Burroughs, Gysin, and Gristle completist and anyone who wants to make sense of the kinds of cultural assaults they embodied.

    Compiled by an international team of experts, each entry is given its complete range of interpretations - sexual and spiritual, official and subversive, cultural and religious - to bring meaning and insight to the symbol.

    The three-day session yielded nearly 2,600 pictures-fashion, portrait, and nude studies-of indescribable sensual and human vibrancy, of which no more than 20 were published. And yet these few photographs ineradicably shaped our image of Marilyn Monroe.This book presents the complete set of 2,571 photos. The monumental body of work by the master photographer and the Hollywood actress marks a climax in the history of star photography, both in quantity and quality. It is a unique affirmation of the erotic dimension of photography and the eroticism of taking photos, and it is the world's finest and largest tribute to Marilyn Monroe.In front of the camera, Marilyn was known to possess an incredible chameleon-like ability to transform herself into whatever role she was meant to play. In these pages she is goddess, siren, child, woman, femme fatale and dream date. Yet there is an air of desperation about these photos as well. In his fascinating foreword to the book. Bert Stern looks back on that momentous sitting, offering a revealing, naked portrait of Marilyn the person -- of a vulnerable, confused woman who although at the apex of her career, had relinquished control of her life -- and of the fashion world of the early 1960s, with its new openness towards drugs, sex, and art.From the glamorous, sophisticated photos which Vogue would publish in a black-and-white "memorial" spread, to the less restrained color shots which Stern coaxed out of Marilyn during an intense, exhausting session, this collection covers nearly every aspect of modern photography: portraiture, fashion-driven, erotic, and artistic. But more than a comprehensive display of Stern's immeasurable talents, these photographs combine to create an homage to America's first goddess. A woman we invented, but whom we could never really know.

    . . . People still speak of it only as 'Doré's Don Quixote'." — Life and Reminiscences of Gustave DoréDoré himself had something of Quixote's chivalry and spent an arduous life drafting impossible dreams; he knew fame as well as pain, disillusionment, and failure. At age 30 he was ready for Quixote and prepared to realize his dream of illustrating the world's great books.Doré never became the painter he yearned to be, but he came very close to realizing his desired intimacy with the classics. His sympathy with Cervantes' satire was so close that, of the numerous Quixote interpretations by many outstanding artists, Doré's has become the standard. The French translation of Cervantes that Doré illustrated is forgotten; here is the memorable remnant of that work — all 120 full-page plates, plus a selection of 70 characteristic headpiece and tailpiece vignettes.As can be seen in the backgrounds, Doré was ready professionally as well as emotionally for Quixote. He had traveled through Spain preparing an earlier work, and his graphic memory was as strong and indelible as that of another great Quixote interpreter, Picasso. From Sancho's village through Spanish hills and dry plateaus, in the Pyrenees and by the sea, in rural castles and Barcelona luxury, Doré illuminated the seventeenth-century setting with a nineteenth-century acquaintance with the scene. Doré was also a careful student of Renaissance costume and architecture; his minutiae, so copious, are invariably correct.Captions written especially for this edition describe the action with reference to the original Spanish text, capturing high points of the story. But of course Doré conveys it all in a picture: the famous windmill charge, traversing the Sierra Morena, battling the Knight of the White Moon, visions of giants, dragons, flaming lakes, and damsels, the Dulcinea never found, all in full-page wood engravings. Doré's marvelous penchant for ghostly effects in panoramic landscapes and seascapes finds large scope here, carefully engraved by one of the best of his longtime studio engravers, H. Pisano.Doré's Man of la Mancha glows with the artist's own enchantment and humor. Artists and illustration aficionados will add this royalty-free volume to other Dover editions of Doré's works — art he created to stand with great literature that now stands alone. Doré's Quixote indeed stands alone, unique among the knights and graphic castles in Spain.

    This book offers a fresh perspective on various developments shaping our cultural history.

    All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts." With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form.   As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.

    The result is a rare book of criticism, alive to the pleasure and mysteries of true exploration.

    Her range of sensitivity—moral, intellectual, sensual, emotional, and spiritual— is remarkably broad. She recalls her childhood on the eastern shore of Maryland, her career change from psychology to art, and her path to a sculptural practice that would “set color free in three dimensions.” She reflects on the generous advice of other artists, watches her own daughters’ journey into motherhood, meditates on criticism and solitude, and struggles to find the way to express her vision. Resonant and true, encouraging and revelatory, Anne Truitt guides herself—and her readers—through a life in which domestic activities and the needs of children and friends are constantly juxtaposed against the world of color and abstract geometry to which she is drawn in her art. Beautifully written and a rare window on the workings of a creative mind, Daybook showcases an extraordinary artist whose insights generously and succinctly illuminate the artistic process.

    The definitive reference for jewelry makers of all levels of ability--a complete, profusely illustrated guide to design, materials, and techniques, as well as a fascinating exploration of jewelry-making throughout history.

    Diana Vreeland praised it as "delightful and delicious," and Laura Ashley called it "pure inspiration." The most elegant and subtle of books to give and to have, it evokes the English gardens of Sara Midda's childhood, sowing the imagination with glorious images. Dozens and dozens of illustrations and tender reflections recall a hut in the wood, or a topiary maze, a summer day spent podding peas, or an herb patch that yields Biblical fragrances. Ruby-red radishes are the jewels of the underworld. Myriad colors fall upon warm green moss. Painted with Sara Midda's fine brush, it is a book of lasting enchantment.

    The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

    Friedman, a pioneer of skate, punk, and hip-hop photography, including much never-before-published work. Glen E. Friedman is best known for his work capturing and promoting rebellion in his portraits of artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Run-D.M.C., and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan "Ollie" Gelfand, Duane Peters, and Stacy Peralta, and a very young Tony Hawk. Designed in association with celebrated street and graphic artist Shepard Fairey, this monograph captures the most important and influential underground heroes of skateboarding, punk, and hip-hop cultures. My Rules is an unprecedented window into the three most significant countercultures of the last quarter of the twentieth century, and Friedman’s photographs define those important movements that he helped shape. A remarkable chronicle and a primer about the origins of radical street cultures, My Rules is also a statement of artistic inspiration for those influenced by these countercultures.

    Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value.For the third edition, the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Seven chapters are entirely new, including expanded coverage of recent world architecture.Described by James Ackerman of Harvard University as "immeasurably the finest work covering this field in existence", this book presents a penetrating analysis of the modern tradition and its origins, tracing the creative interaction between old and new that has generated such an astonishing richness of architectural forms across the world and throughout the century.

    This astounding volume showcases alluring paintings of sensuous women and strong men, set against mythical, otherworldly backgrounds, and contains over 40 color and black and white illustrations, as well as 8 full pages of new, never before seen or published art work.

    Brilliantly drawn and bitterly funny, these cartoons thoroughly demonstrate better living through plywood, reaffirm that what's good for business is good for America-even if Your Government in Action has taken to the streets-the Madonna is out of order and Yoga has been made silly. 122,000 copies in print.

    A collection of intricate humorous parodies of magazine articles and advertisements of the 1920s–50s.

    Other fabulous beasts are clearly inventions, existing only in a mythical landscape of our own collective creation. Bit the inicorn strikes us as more than imaginary. It seems possible, even probable—a creature so likely that it ought to exist. In this magnificently illustrated book, the author takes us on a tour of unicorn lore—from China and apan to India, the Near East, and urope—from ancient times through the Middle Ages and the Renaissance, and into the present. Tapestries, illuminated manuscripts, sculptures and paintings, zoological illustrations, advertisements, and original art especially commissioned for this book wll captivate all of us who are willing to submit to the magical charms of this fabulous and irresistible creature. More beautiful and appealing than the dragon, more mysterious and powerful than the elves and fairies, the unicorn as symbol and as legend is brilliantly brought to life in this colorful history.

    They were reproduced here exactly the same size as Diana painted them. The sketches were given to Mr and Mrs Neville Ollerenshaw of Chichester, Sussex, by a lifelong friend, Miss Silver, a relation of the artist. Diane’s paintings have a wonderful freshness, a humour, a sense of fun and sheer joie de vivre, but they also form a unique social development. They show us the way Jane Austen’s characters would have lived and bring to us, over a space of 160 years, a glimpse of country life in Regency England.

    Robert Lawlor sets out the system that determines the dimension and the form of both man-made and natural structures, from Gothic cathedrals to flowers, from music to the human body. By also involving the reader in practical experiments, he leads with ease from simple principles to a grasp of the logarithmic spiral, the Golden Proportion, the squaring of the circle and other ubiquitous ratios and proportions.Art and Imagination: These large-format, gloriously-illustrated paperbacks cover Eastern and Western religion and philosophy, including myth and magic, alchemy and astrology. The distinguished authors bring a wealth of knowledge, visionary thinking and accessible writing to each intriguing subject.

    The authors analyze the lives and workd of women in both the fine and decorative arts from the Middle Ages until the 1970s.

    Commentary and analysis of the main types of icons. Lavishly illustrated, with 160 pages of text with drawings, 13 b/w and 51 color plates.

    This album of photographs, watercolor sketches, watercolor paintings, and finished tempera paintings, accompanied by a revealing personal text, explores the world of Christina Olson, the subject of Wyeth's most famous paintings.

    

    Photos and drawings throughout.

    This volume of fiction and essays includes three short stories, articles on the craft of poetry focusing on the musical function of the line, and a discussion of the relation of poets to politics.

    The author traces developments in the architectural, astrological, mythological and socio-political significance of this fascinating cultural phenomenon, from the Bronze Age to the present day.

    With text completely rewritten and updated, including technological breakthroughs and discussions of recent weather trends such as El Ni$o, and 20% new drawings, this favorite will hook both serious marine biology students and weekend beachcombers.

    

    Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere.As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical type--they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's Tuesday Lectures.Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite cases, that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

    They include works by artists ranging from Durer and Brueghel to Rousseau and Klee, pottery and sculpture from ancient Greece, Oriental scrolls and wall paintings, and are accompanied by quotations from Plato and Shakespeare to Wordsworth and Walt Whitman.In making her choice Sylvia Judson's intention was, in her own words, "to communicate a sense of affirmation, of wonder, of trust. This is a spirit alien to much of the art of our insecure time, but one which I am confident will some day return."

    In their noble facades, sculptured interiors, and scattered outbuildings can be seen the feudal splandor of the great cotton and sugar planters, and the doomed glory of the Confederate war effort.In these 120 resonant full-color photographs, David King Gleason fully captures the aura of Louisiana's plantation homes -- some beautiful in the morning light, some shaded by trees and hanging moss, some crumbling in decay and neglect. Taking each house on its own terms, Gleason's photographs present the buildings and their environs sharply and without deception. Accompanying the photographs are captions that give a brief architectural evaluation of each house and provide notes on its construction, history, and present condition.Gleason has organized his book as a journey along the waterways that were the lifeline of Louisiana's plantations, their link to New Orleans and to the markets and factories of the North. Beginning in the vicinity of New Orleans and the lower Mississippi, Gleason presents such houses as Evergreen, with its columns and twin circular staircases; the exuberant San Francisco; and Oak Alley, set at the end of a spectacular avenue of 28 oak trees. Continuing along the bayous that lead into the western part of the state, he shows us the palatial Madewoood, constructed from seasoned timbers and 60,000 slave-made bricks; the meticulously restored Shadows-on-the-Teche; the ramshackle Darby House; and Bubenzer, which served as a Union army headquarters during the Civil War.From Cane River country and north Louisiana, the photographs portray Magnolia, burned by Union troops and then rebuilt to its original specifications; Melrose, built in the early 1830s by a freed slave; and Oakland, the location for the Civil War movie The Horse Soldiers. Moving overland towards Natchez; the elaborate, octagonal Longwood; Rosemont, the boyhood home of Jefferson Davis; Oakley, where John James Audubon was once engaged as a tutor; and Rosedown, with its elaborate gardens.Continuing south of Baton Rouge along the River Road, Gleason closes his tour with homes including Mount Hope, built in the eighteenth century; Nottoway, the largest plantation home in the South, completed on the eve of the Civil War; Indian Camp, a leprosarium for most of its existence; and the pillared galleries of Belle Helene.The plantation homes of Louisiana were highly personal expressions of pride and faith in the future. Yet the building of these spectacular monuments was a brief phenomenon. In the wake of the Civil War, the South's economy was devoted to survival, not luxury. A tribute to the plantation home, David King Gleason's photographs reveal the beauty, grandeur, and poignance of these monuments."

    A curious culinary adventure incorporating a caveat against Lesser Literature and an instance of startling sensibility.

    Bernard Tschumi argues that the disjunction between spaces and their use, objects and events, being and meaning is no accident today. But when this disjunction becomes an architectural confrontation, a new relation of pleasure and violence inevitably occurs. 'They found the Transcripts by accident ... a lifetime's worth of urban pleasures - pleasures that they had no intention of giving up. So when she threatened to run and tell the authorities, they had no alternative but to stop her. And that's when the second accident occurred ... the accident of murder ... They had to get out of the Park - quick. And the only thing which could help them was Architecture, beautiful trusting Architecture that they had used before, but never so cruelly or so selfishly ...

    

    Here again is proof that the remarkable achievements of Chinese art, complex as they are, can be made understandable—and enjoyable—to art lovers anywhere. And the book will be no less welcome to scholars, with its masterly summation of recent research and theory together with the original insights of one of the world's leading authorities in the field. We turn here to the fascinating but extremely complicated art of the late Ming dynasty, with all its currents and crosscurrents of politics, art, and criticism. The time span is less than a hundred years, encompassing the years from 1570, through the decline of Ming fortunes, to the dynasty's final defeat by the Manchu hordes from the north in 1644. The turbulence of the period was echoed in its art, which saw the creation of some of China's great masterworks. Treated in detail are the lives and works of some forty-two of the period's leading artists. In the author's words: "Late Ming artists, besides producing a body of extraordinary interesting and sometimes superb paintings, were engaged in intricate ways with the past history of their art, and engaged also with their contemporary theorists in an elaborate interaction, a kind of cultural game that was played with especial intensity in this period. Theirs is often an intellectualized, historically conscious art; we can enjoy the paintings without reference to the issues that surround them, but to do so would be a severely limited reading of them. I have chosen instead to try to present them in all their complexity." There are over 150 plates, including 19 in color, both of familiar masterworks and of pieces that have seldom or never been seen in the West, culled from leading collections in Asia and the West. This wealth of visual delight and instruction ably reinforces a text that is written with a great facility of style.

    Shepard for the Pooh stories by A. A. Milne.

    The 747 photographs document chronologically his choice of subject and his lifelong technical experimentation. Page by page, the reader experiences what Evans saw, what he recorded and how he altered what he recorded to achieve the image he intended. One sees the same subject photographed with different lenses and in different lights; and spreads from Vogue and Fortune

    Berthe Morisot won over the Impressionists with her talent and became the first woman of the period alongside Monet, Degas, Renoir, Pissarro, and Sisley. Morisot's paintings demonstrate how far ahead of her time she was when she created them, pioneering a new style of painting. However, she was underestimated for more than a century--most probably because she was a woman. This book, a comprehensive monograph showcasing the life and works of this influential artist, focusies on the important stages of her career, including her first participation in the Salon de Paris at the age of twenty-three in 1864. Moreover, the book assesses the significance of the time certain paintings were created, taking into consideration what was happening in the artist's life during that period. For example, in 1874 Berthe married Eugène, Manet's brother, and gave birth to their daughter, Julie Manet, who became the subject of many of Morisot's subsequent paintings. Berthe Morisot includes personal correspondence between Morisot and other important figures of the Impressionist movement, providing unique insight into this fascinating period. Portraits of her by her fellow artists have become significant works from the period. Likewise, she was heralded by the greatest writers of her time; a tribute anthology of citations from Paul Valéry, Stéphane Mallarmé, and Jean Cocteau offers an intimate portrait of the artist and her work. This book is an essential read for any lover of Berthe Morisot's work, and indeed for anyone who appreciates the work of the Impressionists. Her works can be found in: The National Gallery, Washington D.C., Cleveland Museum of Art, The Art Institute of Chicago, Dallas Museum of the Arts, The Art Institute Williamstown, Massachusetts, as well as many other institutions.

    A champion of the French symbolists, he was influential to both Yeats and Pound.

    While several of the essays deal with major women artists, the book is essentially about Western art history and the extent to which it has been distorted, in every period, by sexual bias. With 306 illustrations.

    It includes information on darkroom design, woodworking for the novice, lightproofing, ventilation, worktables, building enlarger baseboards, light boxes, water supply panels, print drying racks, darkroom sinks, and much more.

    As long as everything goes along smoothly, harmony prevails. But as soon as some rival crosses the pathway, especially in a diagonal way, there is likely to be trouble in camp. Therefore see that the lines run nearly parallel or cross nearly at right angles."With the charm of words like these, this pleasantly old-fashioned manual inculcates a fine art that has been virtually lost: the art of ornate pictorial calligraphy, or "flourishing."A good pen, this book, and practice are all you need to create your own magnificent swirls, delicately shaded curves, harmoniously crisscrossing lines, from which birds, rabbits, deer, ribbons, and other images gracefully emerge. Complete instructions lead you from proper positioning and basic exercises to finished flourishes of increasing complexity.Frequent helpful hints encourage calligraphers to cultivate grace, harmony, and symmetry by means of diligence, patience, and perseverance. The approach is quaintly traditional, the results delightful. Over 150 lovely examples of flourishes form in themselves a wonderful collection of ornate pictorial calligraphy.With this unique manual and ample practice, you will help keep alive a glorious decorative art. As this book belongs to the Dover Pictorial Archive series, its royalty-free illustrations may also be applied to a multitude of graphic arts and design purposes.

    Richard Hughes and Michael Rowe have assembled and tested the recipes included in this book, which is the most comprehensive work on the subject currently available, an essential reference and sourcebook for practitioners and all those involved in sculpture, architecture, design and the decorative arts. It brings together hundreds of recipes and treatments previously scattered in a variety of old books and technical papers, and provides the artist-craftsman with a very wide range of coloured finishes. Each of the recipes included has been tested and evaluated by the authors, and the practical procedures involved are clearly explained. In addition, they have devised techniques that considerably broaden the range of surface finishes that can be obtained. The metals covered are bronze and yellow brass in cast form; copper, gilding metal, yellow brass and silver in sheet form; and silver-plate and copper-plate. The book is easy to use; all the recipes are classified according to the colour and surface finish they produce on each metal. Colour illustrations show over 200 examples of finishes as test pieces of metal, or as cast or spun bowls. Notes accompanying each recipe draw attention to potentially dangerous processes or chemicals, and to the correct safety precautions. Safety procedures in general are covered thoroughly in a separate section. Detailed information on practical workshop methods and how to avoid any problems that may be encountered is given in sections on the various techniques. A glossary of archaic chemical terms and their modem equivalents is included. An historical introduction outlines the various metalworking traditions with which the use of colouring techniques is associated. An extensive bibliography gives over 400 references of historical, practical and theoretical interest.

    The first book to define the extraordinarily rich history of fairground carving and painted imagery in Britain, America and Europe.

    Illustrations without text depicting unicorns and their world.

    Whereas previous books on French painting looked only at the history of painting as an evolution of artistic styles (baroque, rococo, neo-classical, and so on), Norman Bryson examines the evolution of narrative styles: the kinds of stories paintings tell, the ways they communicate their information, the different techniques of presenting the body as an instrument for incorporating textual messages. The procedure is applied to a number of painters: LeBrun, Watteau, Greuze, David and others, and the author demonstrates that the relation of formal and 'literary' elements was regarded by painters and critics in the eighteenth century as the primary issue to be confronted in the production of a painting.

    Rasa, is the first gathering in English translation of essays and review articles on Hindu aesthetics and translations from the Sanskrit by the French writer Rene Daumal (1908-44).

    These photographs depict a Weimaraner dog dressed as Louis XIV, posing as Picasso's Old Guitarist, and variously covered with baby powder, flowers and tinsel.

    Imbued with Zoe's fertile and vivid imagination, the cats acquire human characteristics as they doze in their chairs, gambol in the corn fields, or gather in a Cornish inn. 32 color illustrations.

    A noted art historian's critical study of almost every major work by Motherwell is enriched by the American painter's own commentaries and more than three hundred color and black-and-white reproductions.

    Using a wealth of examples, Arnheim considers the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture.

    Garner has made and photographed them in color and black and white, in use by actual people.

    

    Marjorie and Brent Wilson’s classic guide for teachers and parents is now expanded and updated! Using hundreds of real examples, this new version breaks children’s art into three types: when the children draw on their own, influenced by peers and popular culture; when the teacher initiates playful and game-like drawing; and when adults and kids draw together to develop new visual worlds.The Wilsons offer suggestions to help children expand their artistic abilities and imagination, including creating narrative drawings about themselves, their families, their friends, and their lives.

    

    From the remote Stone Age mounds and standing stones of the Orkney's to the well-trodden turf at Land's End and from the fens of East Anglia to the wild mountains of Wales, this book reveals the landscape and architecture of the British Isles.

    

    

    All proceeds fund library programs. This is NOT a withdrawn library book.

    Biographies of five artists: Rembrandt, Guardi, Van Gogh, Bonnard, and Nevelson.

    This creative book is a unique reference for professionals and an invaluable guide for beginning artists and designers, small businessmen, church and community organizations, and anyone involved in the preparation of display material.

    

    These charming paintings and watercolors, mostly dating from 1770 to 1860 and coming from all over Europe, Russia, and America, record with faithful accuracy the shape of a room, the pattern of a carpet, the furniture, pictures, fabrics, and wall coverings, the hang of the curtains and the fall of the light they admit.The pictures find their place in a complete survey of domestic—and some more palatial—interiors portrayed in art from the ancient world to the late nineteenth century, and including works by Vermeer, Hogarth, Durer, Degas, and Vuillard. The text goes beyond scholarly commentary to present an evolving picture of men and women in relation to domestic surroundings, full of human interest, wit, and wide-ranging cultural references.Mario Praz (1896–1982) was Professor of English Language and Literature at the University of Rome. The most celebrated of his many other books is The Romantic Agony.

    Inspired by his study of the Japanese Kata (the abstract movements in Judo), Rosicrucian cosmogony, alchemy, and mysticism, and the phenomenological and structuralist philosophies that emerged during his lifetime (particularly the writings of Gaston Bachelard), Fire became central to Klein's quest for the Immaterial.With a new introduction by Klaus Ottmann.

    Each medium or style he chose to master, no matter how solid or sculptural, can be seen as line disguised, metamorphic; as the labyrinth to which a single thread is the key. Theoretically, line is infinite; Picasso in his fertility nearly realized that theory in almost a century of ceaseless drawing, whether on paper, zinc, stone, or other media.Here is a sampling, rather than a comprehensive selection, from that plenitude; while nothing could be comprehensive within a single volume, the genius of Picasso's line manifests itself so clearly that this culling from various periods reveals the line in most of its guises.Beginning with a 1905 circus family in drypoint, 44 drawings cover Picasso's major themes, techniques, and styles. From the almost classic Ingresque clarity of the Diaghilev and Stravinsky portraits (1919, 1920) via cubist studies and "neo-classical" nudes, Picasso's restless hand remakes his world again and again with fresh energy, culminating here in six sketches of the artist/model dashed out in raging love/hate in the midst of personal crisis (1953–54). In between are times of serenity and introspection (Seven Dancers (1919), with the future Olga Picasso up front; many figures and bathers) and, particularity as book illustrations, many mythological studies; Eurydice Stung by a Serpent (1930 etching), Dying Minotaur in the Arena (1933), an etching for a 1934 edition of Lysistrata. Balzac is represented by a striking lithographic portrait (1952) and by etching for Vollard's edition of Le Chef-d'oeuvre inconnu. The sudden appearance of an earthy, hirsute Rembrandt (1934) seems to confirm Picasso's membership in the select group of art history's greatest draughtsmen.

    Memoir. A scrapbook-style homage to the one of the great American poets of the 20th century, including poems, tributes and reminiscences by many of those who knew O'Hara best, including Robert Duncan, Allen Ginsberg, John Wieners, Kenward Elmslie, Ted Berrigan, Elaine de Kooning, Philip Guston, Joe Brainard and many others. Includes a rich array of black and white photographs. Edited by Bill Berkson and Joe LeSueur, two of O'Hara's most intimate friends.

    This is certainly an art book, but the authors carefully and enthusiastically situate the images within religious, national, spiritual, and anthopological contexts. Both rigorous and readable, this book helps one appreciate the beauty and power an image of a very early Indian Buddha but also seeks to explain why the Buddha appears so different in, say, Japan several centuries later. BOOK DETAILS: Hardccover released with dustjacket, 482 pp, 5.5 pounds, large format b&w and color images throughout. Maps, Chronology, Glossary, and a 12 page Bibliography. Indexed.

    

    In the twentieth century, Pater's theories of art and literature exerted a strong inluence on the work of Yeats, Pound, Eliot, Joyce, and Stevens.

    With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals.The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting. Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch'i-ch'ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch'en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi. Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.

    He died in 1979, one of England's most beloved artists and illustrators. The man who gave us the definitive illustrations for Trollope, the stories of Eleanor Farjeon, and the beloved Tim and the Bold Sea Captain series was also an artist who could never resist the temptation of filling his letters to family and friends with enchanting vignettes and sketches. Like all of his work, these were done quickly, humorously, and lovingly, with a sure touch for outline, wash, and color that always distinguished his work. For the first time, here is a selection of those letters, envelopes, and illustrations, selected and edited by Judy Taylor, longtime children's book editor at the Bodley Head and among Ardizzone's closest friends and correspondents.Whether from his diaries of a float trip down the Thames, his sketches of Italy, Egypt, North Africa, and India, or the simple and immediate drawings he would dash off while visiting friends and relatives, these spontaneous, gentle, and vibrant sketches show him, his life, and the England he so loved at their best.

    Topics discussed include how to: Create rough and fine textures, convey warm and cool light; paint soil, snow, mountain slopes, trees, cottages, skies, and distance; describe scenes realistically and as abstractions; handle architectural detail and close-ups of farm objects; harmonize and balance contrasting shapes, patterns, and textures; express summer, winter and spring sunlight and bright, shimmering light; and direct and eye to the center of interest through values, line, and pattern.

    The BreakersKingscoteThe ElmsChateau-sur-Mer& More

    The focus is on the images themselves, with abundant examples by some of the world's finest practitioners. The exquisitely designed pages feature Hill's own works, of course, and also those of such greats as Victor Burgin, Fay Godwin, Emmett Godwin, Duane Michals, and Jo Spence. Hill tackles such basic but important topics as how the camera sees photographs and how to read them, and also analyzes contemporary attitudes to photography and the different approaches taken by a variety of photographers to a range of subjects.

    

    Celebration of Birds, A: The Life and Art of Louis Agassiz Fuerte, by Peck, Robert McCracken

    Yet we know nothing of the men who created it. John James, in this masterpiece of detection, shows how he came to identify the master masons from the stones themselves. His meticulous `reading' of the cathedral has revealed much about those men: how they solved problems of engineering and design, how they raised two-ton stones forty metres into the air, and how one mason controlled over 300 men in this gigantic workshop. JOHN JAMES is an Australian architect. His first visit to Chartres, in 1969, led to a continuing passion for the early Gothic buildings of northern France, and he has been `reading their stones' ever since.

    

    

    Antonio Lopez photographs and paints his famous friends and the portraits are published here in full color. Great fashion illustration book.